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Okay, so here we are in one of
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the noisiest spots we could find.
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This is down literally the underpass beneath the
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Trans-Canada Highway.
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Okay, about a five-minute walk from our
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home.
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And what I'm going to demonstrate here is
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I'm going to deconstruct the three-step off
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-camera flash process that Eric and I basically
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follow.
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Every time we use, we make our own
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light with flash.
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I think this will be a great example
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because I'm going to try to essentially isolate
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the top of the frame as the ambient
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natural light part of the exposure.
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And then down within the tunnel is where
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I'm going to make my own light.
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So that's going to be the flash exposure.
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So you can see how I isolate those
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two exposures and control them independently one at
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a time.
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So I've got Jesse already kind of in
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position.
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He's up high.
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And if I move over here, right about
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there, I've got Jesse basically silhouetted right up
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on the skyline in between the mountains there.
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Okay, and so before I even bring Jenny
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into position, I'm going to get my ambient
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exposure dialed in.
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So if we go back to the three
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-step process, I'm going to start by just
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making a normal properly exposed natural light photograph.
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Okay, just like any other natural light photograph
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with one exception.
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I need the shutter speed to be 1200
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frames per second.
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Or slower in order to sync with the
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flash.
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Okay, and because it's still quite bright out
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here, and I know I'm going dark, I'm
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just going to choose a nice low ISO.
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Get that out of the equation.
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100 ISO, 1200th of a second.
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Focusing on Jesse.
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Get my composition.
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And at about f3.5, I'm properly exposed
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here for the graffiti.
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Okay, I'll make a shot of that so
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you can see.
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That's step one.
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Properly exposed natural light photograph at 1200th of
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a second.
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Now I'm going to go dark.
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Okay, so I'm going to underexpose by effing
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it up.
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Okay, I'm going to increase the aperture to
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go dark.
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There's f5, 5.6, f7.1. Now as
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I get up here to about f9, that's
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what I want.
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I've underexposed the ambient by probably almost two
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stops.
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So all these mid-tones are falling away
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into darkness.
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The tunnel is pitch black.
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I'm exposed for the drama in the sky.
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Okay, so I've essentially laid down my ambient
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canvas on which to now paint with light.
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So I'm going to move into step three,
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which is now add the flash.
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So I'm going to grab a flash here.
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I've got a Profoto A1 mounted on a
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light stand.
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And where I'm going to put it is,
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what I want to do is I want
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to create a bright spot in the tunnel.
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So Erica's going to put the flash in
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the tunnel and she's going to aim it
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up into the wall.
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The goal is to create a nice big
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bright spot.
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I think we're going to put a really
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warm gel on there because that will contrast
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nicely with the blue tones up in the
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sky.
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And so basically everything up above the tunnel
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is ambient light, right?
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Just a natural straightforward silhouette.
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And now I'm not going to change any
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settings on my camera.
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1 200th of a second, I'm leaving it
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at 100 ISO and I'm leaving the aperture
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alone.
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The only thing I'm going to change now
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is the flash exposure.
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Okay, I'm controlling these two exposures, ambient and
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flash independently one at a time.
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The natural light canvas is already dialed in.
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Now I'm going to get the flash dialed
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in.
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So I need a transmitter.
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Okay, and I'm going to turn the transmitter
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off.
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Okay, I could have already had the transmitter
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on here as long as it was off
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to make sure I can get the ambient
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dialed in.
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Okay, and then I'm going to turn it
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on now Okay, make sure it's firing.
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Oh, don't forget with mirrorless, you got to
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flip over to mechanical shutter.
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Okay, test shot.
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Okay, so the flash is firing.
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So I'm just going to eyeball it.
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Okay, I got to turn that flash way
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up and batteries are almost dead in this
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transmitter, Erica.
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I think we got another transmitter that might
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have more.
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Okay, another test shot.
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Okay, so now we got a nice, warm,
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bright tunnel underneath the mountains.
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Okay, so Jessie, come on in.
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Jenny, come on in.
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Jessie's up top.
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So you're going to stand.
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Do you want to switch this out?
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Make a nice silhouette.
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Transmitter with batteries.
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One of your dancing poses.
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I'm going to reposition the flash slightly.
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Why don't you tell me where you want
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it?
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Well, right now, the bright spot is the
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brightest part is right here.
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Yeah, and I want to bring it down
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and this way a little bit.
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So no other way.
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Yeah, okay.
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Tell me once it's in the right spot
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and then I'll step out.
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Okay, let's get a test shot here.
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Oh yeah, money.
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That's the spot.
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Okay, I'm going to have to clone the
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light stand out.
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That's okay.
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All right, so we're going to do power
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poses.
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Do you want Jessie to be walking?
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No, I like this.
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Okay, just for this.
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And yeah, give me the side profile there,
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Jenny.
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That's good.
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Okay, now let's get some separation between your
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arms, Jenny.
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So yeah, that's good.
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Actually, that's good.
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Yeah, do the hair again.
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Okay, and then bring that arm down.
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That's good.
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And kind of chin up there, Jessie.
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Powerful, man.
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Hey, Jenny, just separate your finger from your
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leg a little bit.
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So it's not like that, but like, yeah.
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Just kind of dangle.
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Yeah, that's good.
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Getting good separation there.
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Essentially, we've got two silhouettes here.
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We've got a natural light one up top
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and then a manufactured light one in the
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bottom.
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And let's do one, Jenny, you stay just
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like that.
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It's perfect.
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And now, Jessie, let's get you kind of
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just hopping up and stepping up and down
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off that rock.
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But moving this way and this way.
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So like going that way and then that
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way.
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But you can face that way.
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So like you're turning and walking.
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Walk sideways to me.
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Yeah, there you go.
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Okay, yeah, and back up.
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And back down.
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And I'm focusing on Jenny.
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My aperture is up at f9, so it
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doesn't really matter.
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And one more time.
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Okay, pause, guys.
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Awesome.
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So that's the three-step process.
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Just a natural light photograph properly exposed with
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the shutter speed at 1 200th of a
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second.
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And then effing it up to go dark
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and exposed for the highlights up in the
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sky.
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Add drama to the ambient canvas.
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Then turn on the transmitter, turn on the
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flash and position it.
208
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And then pop the flash and then adjust
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the flash exposure by either turning the flash
210
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up or down.
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Or I could move it closer or further
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away from whatever I'm lighting.
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Oh yeah, that's neat.
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Oh, super neat, yeah.
13683
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